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This photograph, taken during my second summer of working at the Salin de Reprise on the Ile St Martin at Gruissan in the Aude, is a key one for me, as I tried to follow in my own foots steps of a summer before, and give a name and a place in thought to what I was doing as, sometimes focused and alert, sometimes with a dreamer's sense of placing feet where feet must be, I created newly minted and sometimes sight-defeating images of what appeared… before me low at my feet in murk or pristine brine, once I had literally focused, and made due allowance for movement and haze. Abstract and material forms, volumes and surfaces, loomed that day in one spot only. Histories of use, temptation, touch, taboo, voyage and the feet that stray from the kerb were evoked and then subsumed in colour, surface presence to the mind's touch, and simple tone-on-tone brilliance. And all that volume of light rendered liquid and fugitive. It took me time to clear my sight and see literally a frame filled.
Peter Woodburn is an artist-photographer carving his niche both via felt connection with unique but everyday landscapes and through the digital / computational approaches he uses to convey this. Loving the interplay between fact and feeling, abstraction and reference, he also enjoys the resonances between his chosen medium and painting. His approach, based on documenting the details of localities, involves being present in and open to the place and its processes before trying to capture images of these. Similar principles also inform his interior still lifes , based on the later stages of existence of flowers and the sense of lived lives they create around them. He approaches hidden worlds of natural detail with the spontaneity of emotions which are already present in sight itself. He communicates via 'documentary expressionism': fixing the essence of place and natural presence, whose spontaneous power to evoke and to move he celebrates.